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MARCIA GRIFFITHS: REGGAE QUEEN?
BY JAMIE O'BRIEN
4/25/02
ÒCoxsone
also recorded the most gifted woman singer in Jamaica, Marcia Griffiths.Ó
(Barrow and Dalton, pg. 67).
ÒIt is a
clichŽ to say that some Jamaican singers would have sold millions if only they
had been born in the USA, but itÕs undeniably so in the case of Marcia
Griffiths, who no doubt earned more money as on the MarleyÕs I Threes than all
the gems gathered here.Ó (Barrow and Dalton, pg. 71)
BEGINNING
YEARS
These
two quotes are critical in answering the question of whether or not Marcia
Griffiths is the true Reggae Queen. After looking at her success as a female
artist, the answer to this question becomes obvious. Women have been oppressed
across the globe for centuries, which make Griffiths success as a female Reggae
artist that much more outstanding. Looking at her achievements throughout her
life starting at a young age to thirty-seven years in the music business, the
audience will understand why she is the true Reggae Queen.
Linneth
Marcia Griffiths was born and raised in Kingston. Music had always been apart
of her upbringing from her fatherÕs influence as a singer. Her talent was
recognized very early by producers Clement Coxsone Dodd and Byron Lee, Òwho
were said to be competing for her fatherÕs signature on a recording contract
even before she was ten. Coxsone won the compitition and his legendary Studio
One and its downbeat rhythms became her musical college.Ó (Tafari, pg. 1) Marcia reached the big stage for the
first time at the Carib Theater in Cross Roads, Kingston at the age of twelve.
At the age of sixteen she achieved her first Jamaican # 1 with the Rock Steady
hit ÒFeel Like Jumping.Ó After that, she opened shows in Jamaica for Carla
Thomas, Betty Wright and Ben E. King among others. Since those vintage days,
music has been her life and she has risen to the top of Rock Steady and Reggae
Charts in Jamaica.
While
growing up she listened to and admired singers like Aretha Franklin, Carla
Thomas and Deon Warkick. There were not many female artists in Jamaica, but one
that she admired was the late ÒHortense EllisÓ who was a local singer. At a
young age Marcia established a name for herself before teaming up with Rita
Marley and Judy Mowatt. Over the years Marcia has built up a long list of solo
hits, but the re-make by Marcia and Bob Andy of the Nina Simone hit ÒYoung,
Gifted and BlackÓ in the 1970Õs put her into a household name throughout the
Caribbean and Europe. (Tafari, pg. 2) The recordÕs popularity rose the charts in
the UK and soon became popular across Europe.
Europe
producers were in awe of MarciaÕs sound and wanting her to record a few tunes
for them. ÒShe did do two singles in German for a producer in Berlin, exulting
in the fact that there she finally had access to a Warwick-type backing track:
horns, strings, and chorale. But bad management and her own inexperienceÕs
cheated her of the best opportunities that came her way-including a shot at a
Motown distribution contract.Ó (Davis and Simon, pg. 138) She was disillusioned
but not broken from the experience. She returned to Jamaica and continued
recording with little or no creative control. ÒShe was beginning to develop
that consciousness that was springing out of Rasta, which insisted that a
singer sing her own song-or failing that, only express those sentiments that
revealed the most personal of truths and aspirations.Ó (Davis and Simon, pg.
138)
Marcia
made some records for Sonia PottingerÕs High Note label and in 1975 she became
one of Bob MarleyÕs I-Threes backing vocalists. Along with Marcia, Rita Marley
and Judy Mowatt were recruited to fill the vocal gap left by the departure from
the Wailers of Bunny Wailer and Peter Tosh. These women continued to record as
solo artists and willingly Òamalgamated into the top-ranking Wailers to become
the feminine aspect of Bob MarleyÕs imagination-the I-ThreesÓ. (Davis and
Simon, pg. 139)
The
I-Three was made up of three beautiful black women who today are considered
JamaicaÕs three most regarded female singers. The artists were close friends
before they came together in 1973 to sing backing vocals for Bob Marley. Marley
first heard the three ladies harmonize early 1973 in the House of Chen Club
located in new Kingston. ÒHe immediately decided that together their melodious
voices made the sound he was listening for.Ó (http://www.bobmarley-foundation.com)
He enjoyed the sound of them so mach he featured them in the rest of the Natty
Dread Album. By this time Bob Marley previewed them in his line-up concert in
Jackson Five Concert in Kingston. It has been argued that at this time, Jamaica
was ready for female Wailers. With the wide acceptance of the I-Three, they
became a household name worldwide.
Working
with others, MarciaÕs own song-writing talents flourish with Rasta sentiments
as a major inspiration for her. ÒI was saying, that even though IÕve suffered
so many injustices, it doesnÕt really bother me because I know there is another
world for me.Ó (Davis and Simon pg. 193) One example is the lyrics to ÔSteppinÕ
Out of Babylon. The chorus ÔsteppinÕ
out of BabylonÕ is not necessarily a movement in the physical. (Davis and
Simon, pg. 139) It means rather that you are moving out of corruption and into
a state of greater purity than what you might be experiencing in daily life.
ÒBabylon can be either a situation or a system, but it is hell to anyone who
knows of love, and light and warmth. So we want to step from a lower life into
a higher one, and itÕs not just a physical step, but an inner evolution.Ó
(Marcia Griffiths) The audience will see later the influence that her lyrics
has on the younger generation of female RastaÕs.
Griffiths'
response to working with Marley was mostly positive. ÒWhen we were working with
Bob, we all know he is the main one out there and we have to work it out so
that the harmonies suit everyone.Ó(Marcia Griffiths pg. 193) BobÕs influence
continued to pervade the progress of the I-Threes. The last time the I-Three
performed was in August 1981 in Montego Bay. One distinction that came up in
many articles was the fact that Marcia was well established before she teamed
up with the I-Threes. ÒIt was 1964, and I sang Carla ThomasÕs ÔNo Time to
Lose.Õ From then on, things started to happen for me. I was never just a
back-up singerÉuntil Bob Marley.Ó(Davis and Simon, pg. 138)
However, touring the world with Bob Marley, the
Wailers and I-Threes only furthered GriffithsÕ title of Reggae Queen
internationally. ÒSince Judy Mowatt stopped singing the kind of cultural songs
she used to sing and converted to traditional Jamaican Christianity; and
because Rita Marley seems to have put her recording/performing career on hold
for the most part; Marcia has become a virtual I-One, as the sole remaining
I-Three that still maintains her original vibe.Ó (Tafari, pg. 3) She has
changed her style along with the times. What makes her unique as an artist is
that she is willing to work with anyone to develop good music.
RECENT YEARS
Since
the breakup of the Wailers Band, Marcia has returned to an even more extensive
and successful solo career. Marcia received JamaicaÕs Order of Distinction (OD)
award in 1994 for excellence in music. At the end of 2001 Marcia was still
excelling and working as hard as ever on stages all over the globe. In the
summer of 2001 her performance schedule was busy with calls for her to tour the
Caribbean with Beres Hammond. In between dates, Marcia toured in Canada, ten
shows in England to appear as part of I-Threes; and also solo dates in France. One
of the performances she worked on that meant a lot to her is a show with the
Byron Lee band backing both her everyone that she has ever sung with. We all
know that encompasses a lot of people ranging from Bob Andy, Beres Hammond,
Coco Tea and Buju Banton. (http://niceup.com/artists)
In
recent years Marcia has been teaming up with young talent. She explains that
she Òloves working with youngsters and it makes her elated and gives her a warm
feeling to know that young artists wan to work with her.Ó (http://niceup.com/artists) She furthered
her explanation by stating that she never ceases to experiment with newer
artists and noted that DJÕs always want to do combinations with her. She is
willing to work with the younger generation on re-mixes of her songs. One song
that seems to be popular to re-mix is ÒElectric Boogie.Ó Many suggest for her
to re-make the song into a Hip Hop style. What makes her unique is that she is
willing to re-make the song in a Hip Hop style once she finds the right artists
to work with on the project. ÒElectric BoogieÓ was a Bunny Wailer original that
became a big hit for Marcia, especially in the USA in the late 80Õs. The track,
which Marcia did together with Bunny Wailer, inspired the dance the Electric
Slide (which is still popular today). (While I was in Montego Bay last year,
they were teaching the electric slide to the guests) The later months of 2001
Marcia was in the studio in Jamaica working on her new album. For this album
she is involved in co-producing along with Clive Hunt of Tuff Gong and Mixing
Lab fame.
Last year she was reintroduced
to fans from her US tour with the new-look Wailers. One of her biggest
appearances for 2001 was at the Bob Marley Day/Raggamuffin Festival in
California. During her stay in California she visited the official opening of
Roger SteffensÕ Bob Marley Exhibit at Long Beach. She commented that it was
ÒVery, very interestingÉ.It should be permanent.Ó (http://ska.about.com) She felt that the
exhibition contained Òa whole lot of historyÓ, noting that she saw things in it
that she had forgotten about. She furthered her remarks by suggesting that the
exhibition should be on show in Jamaica.
One of her most publicized
shows was on October 12, 2001. The event was significant because it marked the
first time that Marcia performed at the Riviera Beach. She was joined on stage
by the very talented Kymani Marley, sax man Dean Frazer and Rod Spence. Another
aspect to the show is that while the fans were enjoying the talents of
Griffiths and the young Marley, they also had Dean Frazier to listen to. (http://www.jamaicaobserver.com)
LYRICS
Griffiths
has over a dozen albums to her credit, many singles, and has appeared on vocals
for many of albums. ÒWhen she sang for the Wailers, her name was right there
among the credits for most of the all-time best selling Reggae recordings
ever.Ó (http://niceup.com/artists) Her
accomplishes has brought in admiration from the younger generation of female
singers. Many still look up to her standards as an artist. This becomes evident
after looking at her lyrics. She has always been very particular about the
words she sings and is into ÒMessage MusicÓ big time. (http://niceup.com/artists) ÒBut besides
penning and co-writing her own compositions, she has always been fortunate to
get songs from some of the best lyricists in the Reggae business: including Bob
Andy, Mikey Bennet, Hopeton Lindo, Annette Brissett and of course, Beres
Hammond.Ó (www.jamaicaway.com) Take
for example words like: ÒTalking to the wives of evil men, How do you do it?
Eat, drink, sleep with a man, WhoÕs got blood on his hands. Talking to the
wives of serial killers, How do you feel? When he holds you and touch you, Are
you for real?Ó (Evil MenÕs Wives) Another example looks at her duet with Beres
Hammond, ÒShould I Sing.Ó The lyrics go as follows,
ÒIÕve been singing my heart out,
singing
blood, sweat and tears,
Because
I love my people,
IÕve
been singing through blood, sweat and tears,
Thought
I was doing right,
Spreading
the message around,
Trying
to get my people to come together,
Stand
in love with one another.
Wonder
should I sing another love song?
Till
I understand whatÕs going on.
What
if we decide not to sing another line,
Would
the people come together?Ó
What
makes her lyrics so dynamic is the reality of the words. Another female artist
that has reality lyrics is Sister Carol. MarciaÕs combination with Tony Rebel
to the re-make of ÒWeÕll be forever loving Jah,Ó puts her in the currency of
modern Reggae business. After thirty-seven years in the business, Marcia is
still working with the right people, singing conscious lyrics, and has been
named Reggae Queen.
ROLE MODEL
The
most significant aspect of Marcia GriffithsÕ work is the positive role model
she is to many young female. Looking at the socio-economic structure of
Jamaica, the poverty level becomes evident. Marcia born and raised Kingstonian
is well aware of what goes on there. KingstonÕs population more than doubled
between 1943 and 1970, mainly from internal migration. One major problem with
the increase of population is that industrialization did not follow the
increase as usually seen in large migratory terminals of the developing world.
Lack of jobs puts many young people on the streets. Frustration builds in the
community and many young men fight with Òfists, chairs, clubs, bottles, and
ratchet knives. You feel like you musÕ take it out on someone.Ó (Brody, pg. 73)
In 1974 so many of the upper class and political figures were shot that the
government established a gun court with indefinite sentences for illegal
possessions of arms.
Shantytowns
housed 22.8 percent of the population which few have piped water usually by
illegal connection to a main. Shantytown is considered a highly fertile area.
ÒIn the largest shantytown of Montego Bay the average number of children under
age four per 100 women aged 15 to 44 was 72, compared with 53 per 100 in the
rest of the city (Eyre, 1976) One explanation of high fertility is that without
other opportunities for self-expression or ego extension and with few social or
economic resources, Òmen and women try to achieve them through parenthood and
having children.Ó (Brody, pg. 87) The reality of poverty takes away the pride
in parenthood. Poverty denies parents and children the most adequate food and
shelter. Coming across money and opportunities are a major concern for Jamaican
people. Women underlying feelings of oppression and resentment were pervasive.
After looking at statistics many people feel that they were overworked and none
were satisfied with their jobs. One example is of a third-grade-educated,
28-year-old mother of six by three men did not have a job because she had to
look after her children. Only one of the fathers gave the women money to help
her. After watching the films from class, we see this reality to be true for
many of women. With no escape from poverty, women use their sexuality to
produce money.
Looking
at the first pregnancy of women in Jamaica, approximately one-fifth of the respondents
conceived within their first menstrual cycle. It was noted that the majority of
women with a second partner were pregnant within six months. ÒThe median age of
first pregnancy was 16, and it had occurred for almost all by their
twenty-first birthday.Ó (Brody, pg. 153) Some of the stories behind the data
look to women wanting to escape the harsh reality of their lives. Some women
fantasize that having a family of their own will bring stability in their
lives. They forget the reality of poverty in which they live in. From the films
in class we see young people making decisions to either sell drugs or guns for
their survival.
How
does this relate to Marcia Griffiths being a role model? Marcia acknowledges
how much the younger Rasta women look up to her on the stage, and a role model
just as a woman. ÒMarcia attributes the respect and adulation she receives to
the kind of life she lives: ÒIs not garments and hair. Is livity, what you do
Works.Ó (http://niceup.com) She furthers her
argument by saying that fan appreciation is more a motivation than money. She
meets young females all the time who give her strength and in return she gives
them inspiration. The reality of many Jamaican women is poverty. They need a
woman that they can look up to and be inspired by. After looking at MarciaÕs
lyrics we see that she gives women that guidance. The way in which she
cultivates her fans on and off the stage makes her the true Reggae Queen.
HER INSPIRATIONS
Is Marcia Griffiths a Rasta? She argues
the fact that Gospel is one of the most commercial forms of music today. She
was born into true Christianity and not into BabylonÕs version of that
religion. She does state that she tries Òto walk the way the Rataman and
Rastawoman live.Ó (www.ska.com) This does not
mean that she has dreadlocks; as a matter of fact she never has had them. Many
people questioned this issue because of the way in which she carries herself
and because of the spiritual image that she projects. Marcia has been apart of
Rootz Rock Music since the days of Ska, through Rock Steady era, right up to
the present day Rootz Reggae. (www.ske.com)
She has always been around the Rastafari artists and musicians who formed the
hardcore of the Rootz Music industry since the early days. It was also noted
that all the men of importance in her life have been Rastafarians.
What
I like about her attitude towards the issue of dreadlocks and Rastafari is that
she cannot believe that people identify others by hair. She makes a great point
that originally dreadlocks represented a covenant with the Creator, but that
now, dreadlocks have become a style and fashion statement for some people. The
first Rastaman she knew was Bob Andy who emphasized that the true Rastafari
disciples practice upfull living. By this they would give praises to the
Almighty and live clean. Most importantly she states that one does not have to
wear dreadlocks to be Rasta in your heart and mind.
CONCLUSION
When
answering the question if Marcia Griffiths is the true Reggae Queen, there is
no doubt. She is arguably the most consistently successful female vocalist in
the history of Reggae Music. She has recorded a number of songs ranging from
Ska to modern-day Reggae-Rap crossover records. Due to her well-known talent,
her proven professionalism and her outstanding track records of hits, Marcia is
still busy and still always is in high demand. Three decades in the business
makes one tough and she has gained spiritual strength from the experience. She
argues to this day that music has taught her so many things that she cannot
even express. ÒKind and encouraging words from virtually every modern day
female singer in Jamaica or the Reggae industry, warms her heart and touches
her deeply, giving true satisfaction that goes beyond money.Ó (www.ska.com)
ÒI
shall sing, as long as I live, I shall sing!Ó-Marcia Griffiths
WORK CITED
Barrett, Leonard E. The
Rastafarians. Beacon Press, Boston MA. 1997. Pages: 58-62.
Barrow, Steve, and Peter
Dalton. Reggae, The Rough Guide. Penguin Books, New York. 1997. Pages
67-68, 71, 187,292,293.
Blake, Judith. Family
Structure in Jamaica. The Free Press of Glencoe, Inc. New York. 1961
Davis, Stephen and Peter
Simon. ÒReggae InternationalÓ. Pages 137-139.
Roberts, George W. and
Sonja A. Sinclair. Women in Jamaica. KTO Press, New York, 1978.
WEBPAGES
Tufff Gong Intl./The Bob
Marley Foundation
http://www.bobmarley-foundation.com/t55.html
An Interview with Sister
Carol
Marcia Griffiths
Marcia Griffiths